Esther Rabbah

'וירא והנה רעש גדול וחזק ובהלה על הארץ...ופחד ורעד' renders multiple elements of the Greek verbatim — earthquake (σεισμός/רעש), confusion (τάραχος/בהלה), and the exact phrase 'on the earth' (ἐπὶ τῆς γῆς = על הארץ) — none of it MT's, all of it the dream's opening.

'והנה שני תנינים גדולים ויריעו זה לקראת זה ויערכו מלחמה' directly renders 'δύο δράκοντες μεγάλοι...παλαίειν' — two great dragons drawn up for battle — a specific image with no MT source, matched across the number, size, and combative posture.

'לקולם כל גויי הארץ...כל הגוים על הגוי הקטן' renders 'τῇ φωνῇ αὐτῶν...πᾶν ἔθνος...δικαίων ἔθνος' — nations mustering at the dragons' voice against the small/righteous nation — matched in both the triggering voice and the target.

'ויהי היום ההוא חשך לכל העולם' directly renders 'ἡμέρα σκότους καὶ γνόφου' — day, darkness, and 'whole world/earth' all correspond — within the same dream retelling, not MT's.

'ויזעקו אל ה'...מעין מים אחד קטן...ויהי לנחל שוטף' directly renders 'ἐβόησαν πρὸς τὸν θεόν...ἀπὸ μικρᾶς πηγῆς ποταμὸς μέγας' — cry to God, then a small spring becoming a great flooding river — an exact narrative sequence absent from MT.

'זרחה השמש...ויתרומם הגוי הקטן והגבוהים השפלו' directly renders 'ὁ ἥλιος ἀνέτειλεν...οἱ ταπεινοὶ ὑψώθησαν' — sun rising and the low/high reversal — a specific matched image sequence, not MT's.

'כי לא מגבהות לב ומרום עין עשיתי אשר לא השתחויתי להמן' precisely matches Addition C's disclaimer — not from insolence/pride/love of glory did I refuse to bow to Haman — across multiple corresponding clauses, and is absent from MT.

'כי לוחך הייתי מנעל רגליו' (I would have licked the sole of his shoe) matches 'ηὐδόκουν φιλεῖν πέλματα ποδῶν αὐτοῦ' (I would gladly have kissed the soles of his feet) — a unique, specific image tied to the same 'for Israel's sake' logic, not MT's.

'ותפשט בגדי מלכותה ואת תפארתה, ותלבש שק...ותמלא אותו עפר ואפר' matches Addition C across multiple clauses — stripping royal garments, donning sackcloth/mourning, filling the head with ashes — none of it MT's.

'ותפרע שער ראשה' (she let her hair down) is part of the same densely-matching sentence as the robes/sackcloth/ashes clause, corresponding to Addition C's 'ἔπλησε στρεπτῶν τριχῶν αὐτῆς' (filled with her disheveled hair).

two maids; she leans on one 'by royal custom' (ὡς τρυφερευομένη), the other follows holding up her jewels (κουφίζουσα τὴν ἔνδυσιν).

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

cheerful face (ותצהיל פניה) and the fear hidden in her heart (ותכס הדאגה אשר בלבה), in order.

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

she stands before him; the king on his royal throne in gold and precious stones (בלבוש זהב ואבן יקרה).

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

his eyes blazing with anger; she faints (ותפג רוחה) and lays her head on the maid supporting her.

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

the king springs up in alarm from his throne (ויקם המלך בבהלה מכסאו = ἀγωνιάσας ἀνεπήδησεν ἀπὸ τοῦ θρόνου), embraces her, 'this law is not laid on you'. Control P11.

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

his arm (not the rod) on her neck, and 'why did you not speak to me' (λάλησόν μοι), in order.

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

'when I saw you, my soul was troubled before your glory' for 'I saw you... my heart was troubled at the fear of your glory'.

This paragraph reaches the bench through a later anthology's verbatim copy of it; see the colophon.

The spring-becomes-river/light/sun imagery recurs in the same retelling, matching Addition F's identification scene, though ER does not supply F's explicit interpretive key (spring = Esther) — the imagery is specific and non-MT even without the naming.

'לאבד זכרו מעל הארץ' (to destroy its name/memory from the earth) directly matches Addition F's gloss that the nations gathered 'to destroy the name of the Jews' — a specific, non-MT phrase-level correspondence.

'ויזעקו אל ה'' directly renders 'ἐβόησαν πρὸς τὸν θεόν' (cried out to God) — the same clause independently supports Addition F's later recap that 'my nation... cried out to God and were saved.'

ER dates Mordecai's dream 'in the second year of King Ahasuerus,' the same regnal-year datum as Addition A's date; MT never narrates this dream at all, so the shared year is a specific non-MT detail (genealogy/tribe is not supplied).

'ויצר לגוי הקטן מאד' (the small nation was greatly distressed) matches 'ἐταράχθη δίκαιον πᾶν ἔθνος...ἡτοιμάσθησαν ἀπολέσθαι' (the righteous nation troubled, prepared to perish), though ER's clause is shorter and omits the 'prepared to perish' element.

'וינצר מרדכי את החלום אשר חלם' shares the specific act of Mordecai guarding/keeping the dream after waking, a detail with no MT basis, though shorter than the surrounding verbatim clauses.

'יש אדון המתגאה על כל גאים היאך אני מניחו ואשתחוה לעבודת כוכבים' explains Mordecai's refusal as anti-idolatry rather than personal pride — the same specific rationale Addition C supplies in Mordecai's own voice ('not from insolence, pride, or love of glory'), a motive MT never states.

'והשפילהו לפני כי אתה משפיל גאים' (humble him before me) matches Addition C's request that God put a persuasive word in her mouth and turn the king's heart — a shared, non-MT prayer asking God to directly alter the king's disposition before the audience.

'אפשר לצדקת זאת שתנשא לערל' (can this righteous woman be married to an uncircumcised man) shares the specific term 'uncircumcised' (ערל) applied to the identical referent — Esther's marriage to Ahasuerus — as Addition C's 'I abhor the bed of the uncircumcised.'

'הנה החלום אשר ספרתי לך בימי נעוריך' — Mordecai recalling his earlier dream to Esther at the moment of crisis — matches Addition F's 'I remembered the dream I saw...not one word of it has failed' — the same narrative beat (recalling the dream as it comes true), though the specific 'not one word failed' phrasing is not reproduced.